Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mauritius and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1972.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Gories to the grunge kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Japan. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Cecil Taylor,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Sexual Harrassment,
Sam Rivers,
Nation of Ulysses,
Fad Gadget,
Toni Rubio,
The Saints,
Loose Ends,
Sparks,
Lizzy Mercier Descloux,
Sun Ra Arkestra,
Al Stewart,
Deutsch Amerikanische Freundschaft,
Black Sheep,
Lafayette Afro Rock Band,
Metal Thangz,
Bang On A Can,
Terry Callier,
Zapp,
Peter & Gordon,
Roxy Music,
Reuben Wilson,
Radiohead,
Sonny Sharrock,
Funky Four + One,
Pharoah Sanders,
The Skatalites,
The Dirtbombs,
Aloha Tigers,
Pylon,
Silicon Teens,
X-102,
Danielle Patucci,
8 Eyed Spy,
Lou Reed & Metallica,
Lyres,
Duran Duran,
U.S. Maple,
Sad Lovers and Giants,
Banda Bassotti,
Alphaville,
Spandau Ballet,
The Invisible,
Soul Sonic Force,
Michelle Simonal,
Shoche,
Public Image Ltd.,
Niagra,
The Sisters of Mercy,
Ohio Players,
Rhythm & Sound,
Pierre Henry,
The Slackers,
Oppenheimer Analysis,
Gary Puckett & The Union Gap,
June Days,
Roy Ayers Ubiquity,
Skarface, Skarface, Skarface, Skarface.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.